Summary of Key Points
This summer, domestic long dramas have collectively experienced a reversal in popularity and critical acclaim: before their release, they relied on popular actors and promotional materials to gain attention on social media, dominating the platform’s heat charts. However, viewers generally criticized the scripts for being illogical, the plots for being hollow, and the overall quality for being subpar, with most豆瓣 ratings falling below 7 out of 10. None of these dramas became widely popular among the audience. The root of the problem lies in long dramas blindly imitating the fast-paced, highly conflict-driven style of short-form content while abandoning their own core strengths—such as coherent storytelling, well-rounded characters, and profound themes. Combined with market dynamics, capital risk aversion, and changing viewer preferences, this has led to a reversal in creative focus, resulting in a decline in commercial value.
Detailed Analysis
1. Long Dramas Imitating Short Form Content: Copying the Surface Without the Essence
Many long dramas have attempted to adapt to short-form content by compressing story buildup and transitions, cramming in sudden plot twists and conflicts per episode, turning them into extended versions of the same formula.
- Illogical Plots: Early episodes of “This Second Is Over-the-top” include melodramatic elements like murder, fake deaths, and taboo relationships between uncles and sisters-in-law, with almost no emotional buildup. “Baihua Kill” forces abrupt plot turns every few episodes, and the original novel’s complex subplots are omitted; the villain’s actions are solely for creating conflict, leading to a disjointed narrative.
- Flat Characters: Characters have become mere pawns in the plot. For example, “Wild Dog Bones” cuts out supporting characters and neighborhood relationships, reducing the story to a repetitive pattern of the heroine in danger and the hero rescuing her. In “Xiaofang,” the heroine lives independently outside but becomes pregnant before marriage, with all family members portrayed as saints—a departure from reality. The female protagonist in “Candan Ruying” behaves infantishly, only to create opportunities to be alone with the male lead.
- Themes Reduced to Packaging: Whether set in historical periods or contemporary settings, long dramas often prioritize the romantic storyline between the main characters. So-called “innovations” are merely different wrappers for the same old story structures, even clichéd themes like pseudo-medical romances have become tiresome due to overuse.
2. The Failure of Traffic-Driven Strategies
The past approach of relying on popular actors and celebrity marketing to generate buzz has failed this year:
- Negative Reviews Affecting Commercial Value: The top-rated drama “This Second Is Over-the-top” faced a significant drop in ratings after 13 episodes, leading six brands to withdraw their funding, resulting in the second half of the series being broadcast without advertising. Data from Guduo shows that seven out of the summer dramas had no brand sponsorship, indicating that advertisers are no longer willing to invest in such content.
- Evolving Viewer Preferences: After the surge in short-form content, viewers are averse to stories that prioritize speed over logical coherence. For instance, the mystery drama “Xuanan” maintained high popularity despite having only a 7.5 rating, proving that quality is key.
- The Demise of Traffic Appeal: Viewers no longer rely on celebrity presence; dramas with poor plots that attract initial attention quickly lose their viewership, and none of this year’s offerings became widely popular.
3. Market Forces and Capital Risks
The deviation in long drama production is not accidental but the result of multiple factors:
- Platform Pressure: Youku data shows that 50% of users abandon long videos after the first five episodes. Producers are therefore pressured to shorten the buildup and include more intense moments early on, which undermines the narrative’s integrity.
- Conservative Capital: In the first quarter of 2026, only 12 out of 63 new dramas received steady advertising investment, reflecting a risk-averse attitude from brands. Investing in original and innovative content is less profitable compared to using established stars and formulas.
- Misalignment in Taste: The production cycle for films and TV shows is long (typically 1-2 years), while viewer tastes change rapidly. For example, the success of “Mo Yu Yun Jian” in 2024 was due to its blend of long-form and short-form elements, but by 2026, this approach had lost its appeal.
4. The Way Forward for Long Dramas
The solution is for long dramas to reclaim their core strengths:
- Avoid Being Extended Versions of Short Forms: Their advantage lies in their ability to tell complete stories, develop complex characters, and explore deep themes. Successive high-rated dramas like “Taiping Nian” and “Life Tree” have shown that a balance between pace and depth is crucial.
- Reject Stereotyped Formats: Reduce the reliance on formulas like popular stars and romantic storylines, and focus on crafting well-written scripts. For example, “Low IQ Crime” won acclaim for its solid mystery plot and dark humor.
- Return to Content Quality: Long dramas should leverage their potential to build a rich world and character development, rather than sacrificing narrative quality for short-form convenience. Otherwise, they will lose viewers’ trust and market traction in the long run.
In One Sentence
Imitating short-form content is not wrong, but long dramas must not abandon their core values. By focusing on quality over speed, they can regain public respect and commercial success.